Taking inspiration from the great love poems of Shakespeare, the Classical Department of the Australian Institute of Music present Henry Purcell's baroque masterpiece, "The Fairy Queen".
"And when love speaks, the voice of all the gods makes heaven drowsy with the harmony."
Set around a wedding feast and using sonnets and famous speeches from William Shakespeare, this production promises to sparkle as it explores the many aspects of love through spoken text, dance and, of course, the beautiful music of Henry Purcell.One of the most musically accessible opera's of its time, this production, under the directorship of Tyran Parke and the musical directorship of Hans-Dieter Michatz opens at the reception of a lavish wedding and, as with most weddings, the celebrations that ensue create a perfect atmosphere for chaos and redemption with a colourful cast of guests including drunks, liars, philanderers and, of course, Cupid trying to ensure a happy ending.For the first time the classical department at AIM will take to the stage at Australian Hall with the graduating singers and orchestra to create a performance of magic and mischievousness not to be missed.
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The Fairy Queen
The Fairy-Queen (1692; Purcell catalogue number Z.629) is a masque or semi-opera by Henry Purcell; a "Restoration spectacular".[1] The libretto is an anonymous adaptation of William Shakespeare's wedding comedy A Midsummer Night's Dream.[2] First performed in 1692, The Fairy-Queen was composed three years before Purcell's death at the age of 35. Following his death, the score was lost and only rediscovered early in the twentieth century.
Purcell did not set any of Shakespeare's text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly modernised in keeping with seventeenth-century dramatic conventions, but in the main the spoken text is as Shakespeare wrote it. The masques are related to the play metaphorically, rather than literally. Many critics have stated erroneously that they bear no relationship to the play, but recent scholarship has shown that the opera, which ends with a masque featuring Hymen, the God of Marriage, was actually composed for the fifteenth wedding anniversary of William and Mary.[3]
Growing interest in Baroque music and the rise of the countertenor contributed to the work's re-entry into the repertoire. The opera received several full-length recordings in the latter part of the 20th century and several of its arias, including "The Plaint" ("O let me weep"), have become popular recital pieces.
In July 2009, in celebration of the 350th anniversary of Purcell's birth, The Fairy-Queen was performed by Glyndebourne Festival Opera using a new edition of the score, prepared for The Purcell Society by Bruce Wood and Andrew Pinnock.

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